5 Paint Characteristic Groups

Based on the color list from the Sketcher's Pocket Set of 12, here is how the pigments behave regarding staining, semi-staining, non staining, transparent, Semi-Opaque, Opaque.

Among the colors listed, the Phthalocyanine family (Intense Blue/Green) and the Perylene/Alizarin group are the most staining. These pigments have such tiny particles that they dye the paper fibers instantly, making them nearly impossible to "lift" back to white.

Nonstaining, Transparent Colors

ULTRAMARINE (PB29): This is a classic non-staining, transparent color. It is prized for its ability to be lifted easily, even after it has dried, and is also known for its beautiful granulation.
BURNT UMBER (PBr7, PY42): Generally considered a low-staining to non-staining earth tone. Because it often contains PBr7, it has a larger particle size that sits on the surface of the paper.
YELLOW OCHRE (PY42): A natural earth pigment that is typically non-staining and semi-transparent to transparent. It is very forgiving for beginners because it can be manipulated or lifted with a damp brush.
CADMIUM YELLOW HUE (PY97 & PY65): While "Hues" can sometimes be more staining than genuine cadmiums, these specific Arylide yellows (PY97 and PY65) are generally considered low-staining and very transparent.

2. Staining, Transparent Colors

Most Staining Pigments (The "High Staining" Group)

VIRIDIAN HUE (PG7): Also known as Phthalo Green. It is extremely staining and will quickly "explode" on wet paper.
SAP GREEN (PG36 + PY139 + PR101): Because it contains PG36 (Phthalo Green Yellow Shade), it is highly staining and aggressive in mixes.
ALIZARIN CRIMSON HUE (PR179): Often made with Perylene Maroon (PR179), this is a heavily staining pigment that acts as a professional, lightfast replacement for the traditional fugitive Alizarin.
CERULEAN BLUE HUE (PB15): Unlike genuine Cerulean (PB35), this "Hue" version uses PB15 (Phthalo Blue), which is famously one of the most staining pigments in watercolor.

3. Semi-Staining & Opaque/Semi-Opaque Colors

CADMIUM RED PALE HUE (PY65 & PR255): This is a semi-opaque color. Because it contains PR255 (Pyrrol Scarlet), it has a dense molecular structure that makes it look more "solid" on the paper compared to your transparent yellows.
LEMON (PY175): While very clear, this is often classified as semi-staining. It has a high tinting strength, meaning it can "tint" a mix very quickly even though it remains transparent.
BURNT SIENNA (PR101): Depending on the load, this is often semi-opaque and semi-staining. It provides a rich, earthy "ground" for your paintings and is harder to lift than Yellow Ochre.

4. Semi-Staining & Opaque (The "Covering" Group)

CADMIUM RED PALE HUE (PY65 & PR255): Semi-opaque with strong coverage; great for bold focal points.
BURNT SIENNA (PR101): Semi-staining and semi-opaque; provides a solid foundation for shadows and earth tones.
LEMON (PY175): Semi-staining; a high-strength yellow that "bites" into the paper more than Ochre.

5. Unsaturated & Low-Staining Colors

YELLOW OCHRE (PY42): * Transparency: Semi-transparent to transparent. Staining: Non-staining; very easy to manipulate or lift with a damp brush. Professional Use: Ideal for soft, atmospheric glows and natural landscapes.
BURNT UMBER (PBr7, PY42): Transparency: Transparent. Staining: Low-staining to non-staining. Professional Use: The larger particle size of the PBr7 keeps it on the surface of the paper, making it adjustable even after it dries.
BURNT SIENNA (PR101): Transparency: Semi-opaque. Staining: Semi-staining. Professional Use: While slightly more "solid" than Umber, it provides a rich, earthy foundation for shadows and skin tones.

NOTE: Earth tones can bridge both categories depending on how thickly they are applied.

Strategy Guide: When to Choose Your Characteristics

Understanding the 'why' behind your pigment choice helps you move from guessing to intentional painting.

Choose Staining & Transparent colors when you want to build deep, glowing layers (glazing) that won't be disturbed by subsequent washes. These are perfect for the initial "map" of your painting, but be careful—they are permanent once they touch the paper!
Choose Non-Staining & Transparent colors when you need flexibility. These are your "safety net" pigments, ideal for soft skies or areas where you might want to lift out a highlight (like a cloud or a reflection) later in the process.
Choose Semi-Opaque & Covering colors for your final details or focal points. Because these pigments have more body, they sit "on top" of your previous layers, making them excellent for adding that final punch of color or correcting a small area where the values got too muddy.

Tip: By mastering these three groups, you are no longer just "using paint"—you are managing the physical architecture of your artwork.

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